Description
Last year, the transcendental soundboard album that caused a huge shock among collectors who emigrated around the world has been updated. The impact sound board was recorded at “Wilmington performance on May 7, 2012”. Yes, this is an upgrade version of the stereo sound board’s super masterpiece “WILMINGTON 2012” which recorded the trio with Terry Poggio among the reunion U.K. Reunion U.K. lasted for five years from 2011 to 2015, albeit sporadically, but Pozio only participated in only a few of them. In particular, the trio formation was only for the 2012 North American tour and Japan tour (Pogio will return for several performances in 2013, but at that time it was a four-person formation with Alex Makachek). This work is an ultra-superb soundboard recording that is unique even in such a trio reunion U.K. 2012 was also a special year. John Wetton in his later years was a three-legged band of solo/ASIA/U.K., but 2012 was memorable for coming to Japan for all of them. First, let’s look back at Shaw’s position from its activity schedule. ◎January 17th + 18th: Japan #1 (2 performances) May 1st-21st: North America #1 (14 performances) ←★Here★ May 24th-30th: Europe (5 performances) *Posio not participating June 14th-21st: Japan #2 (6 performances) June 24th: Appearance at NEARfest *Posio not present June 29th: ASIA’s “XXX” released >> September 2nd: Appearance at WEYFEST 2012 – September 24th-27th: Japan #3 (4 performances) October 11th-November 23rd: North America #2 (31 performances) *Note: “◎” indicates solo performance, “◆” indicates U.K. performance, “・” is an ASIA performance. This is John Wetton in 2012. He came to Japan as a solo artist early in the new year, then moved to the U.K. from spring to early summer, then moved to ASIA in the fall with the release of “XXX”… Of these, the Wilmington performance of this work was the fifth concert. It was a reunion of the trio that was thankful for just having audience recordings left, but the situation changed completely last fall. Suddenly, a stereo soundboard sound source appeared on the internet. Moreover, when it came to the quality, it was a superb item that made you want to list “super” all over the place. In terms of classification, this sound source is directly connected to a mix console. The cheers from the venue were of the type that could only be heard by listening through headphones and cringing in anticipation, so there was no sense of realism. However, the performance sound and singing voice are shocking! The DAT recording directly from the table is extremely thick and the details are extremely detailed. Every single note by the three members is so vivid that it invades your brain from the moment it starts, and you can hear it all, right down to the vibe of the last scrap of sound as it fades away. There are three people in my head… or rather, it’s as if my head itself has become an instrument. Synth sounds rise from the pituitary gland, drumming that blows from side to side with ferocious pans forms a skull, and the pounding bass pierces the brain horizontally. When it comes to Wetton’s vocals, it almost feels like he is vocalizing them himself. The feeling of synchronization is so great that you can’t believe it’s going through your eardrums… I have handled many sound boards that are directly connected to a desk, but this is by far the best sound out there. I couldn’t help but get excited, but this work is the ultimate edition that further improves such a transcendent sound board. The original sound itself was amazing, but when I analyzed the waveform in detail, I found that the range was a little narrow, and there was a slight “roundness” in the edges and ringing. This work improves each of these points one by one. The contours are made even more distinct, and the ensemble stands out over a wide range, giving it a sharper look. The core and details of the outrageous level are even more vivid, and the silence is pitch black. It’s just a live performance, and the sound is no different from the official studio work. We were simply pursuing the possibilities of the original sound, but it continued to improve. Now that I know the original sound, I can’t experience the initial “surprise”, but instead it has become a “sound of pleasure” that makes me grin just listening to it. What is depicted with a sound that has transcended even such “transcendence” is a full show that revives that wonderful trio coming to Japan. The set is very similar to the performance in Japan, but it is not exactly the same. Let’s organize the contents here. Patriotic Four (4 songs)・Alaska/Thirty Years/Presto Vivace and Reprise/In the Dead of Night Danger Money (5 songs)・Rendezvous 6:02/Carrying No Cross/Danger Money/Caesar’s Palace Blues/The Only Thing She Needs Others (2 songs) Night After Night/Fallen Angel…and so on. It is slightly shorter than the performance in Japan, and the “In the Dead of Night” suite omits “By The Light Of Day”, and it is also somewhat disappointing that there is no “Nothing to Lose” or “As Long as You Want Me Here”. However, on the other hand, you can listen to “Fallen Angel”, which was only shown at a limited number of shows in Japan. Pozio does not participate here, and it is a duo style with Wetton singing earnestly with Jobson’s piano and chorus in the background, but the two official live works left from the reunion era, “REUNION: LIVE IN TOKYO” and “CURTAIN CALL”. It is also a song that is happy to have the best sound board because you can’t listen to it either. And the trio ensemble that spells out such a set is a must-listen. Perhaps due to the timing of the fifth performance, the ensemble suddenly seems a bit out of place during the opening song “Alaska,” but even so, the trio continues to push forward with the dynamism that is typical of a trio. After that, as the show progresses, the ensemble becomes more in tune with each other, and the original awesomeness of the ensemble is revealed. Pogio is especially powerful. “Thirty Years” has detailed phrases, “Carrying No Cross” has three-dimensional drumming, and “Caesar’s Palace Blues” has an explosive bass drum. Even in “Rendezvous 6:02”, it is not a duo of Jobson and Wetton, but a trio version in which Posio shows the leading role. The reunion of U.K. seemed like a miracle, but the trio’s realigned live performance was a miracle of miracles. It is a masterpiece of a live album that allows you to experience the full show on a transcendental stereo sound board. A supreme two-disc set that pursues the maximum potential of the master that shocked enthusiasts around the world. (Remastered Memo)) Equalization improves the impression of a narrow range and improves the overall sharpness, making it easier to listen to. Live at World Cafe Live at the Queen, Wilmington, DE, USA 7th May 2012 STEREO SBD *Upgrade Disc 1(62:00) 1. Alaska 2. Night After Night 3. Thirty Years 4. Rendezvous 6:02 5. Carrying No Cross 6. Keyboard / Violin Solo 7. Drum Solo Disc 2(39:50) 1. Eddie Jobson MC 2. Danger Money 3. Presto Vivace and Reprise 4. In the Dead of Night 5. Caesar’s Palace Blues Encore: 6. Fallen Angel 7. The Only Thing She Needs STEREO SOUNDBOARD RECORDING John Wetton – Bass, Vocal Eddie Jobson – Keyboards, Electric Violin, Vocal Terry Bozzio – Drums, Percussion
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